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ERIC
ROBERTS |
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Favorite
Guitars Since
I started playing guitar, my favorite guitars were Gibson, and my
first professional guitar was a 1971 Gibson ES-330. I later sold it
and bought a 1961 Gibson Byrdland that was on consignment at a small
music store for only $375.00! My first professional classical guitar,
which I play on this CD, is a Picado, handmade in Spain. I also own
a Ramirez 2WCE electric classical, as well as a Godin Multiac, Carvin
NS-1, Roland GR-33 guitar synthesizer, Baby Taylor and a Takamine
EG10C as well. Regarding amps, my first amp was a Fender Pro-Reverb
but since then I use a Fishman Loud Box for live playing or a Carvin
StageMate Portable PA.
In summarizing
my guitar style, I would say that it is a combination of influences,
namely Ralph Towner, Wes Montgomery, Pat Martino, Pat Metheny, Ted
Greene, Oscar Castro-Neves, Baden Powell and Charlie Byrd. I would
have to say, though, that my all time favorite guitar player was and
still is Lenny Breau. He made the guitar sound like a keyboard and
was a true original.
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It’s
not often that guitarist Eric Roberts makes a new CD but when he does
it’s clearly worth a listen. Back in 2005 Roberts released his
CD debut, a fine instrumental showcase for his guitar skills called
In A Silent Place. Now in 2009 the Colorado based guitarist
follows up with a newly recorded 6 track CD ep entitled My Brazilian
Heart. Everything about this new CD release speaks quality—from
the studio recording sound down to the eye-catching cover artwork.
Whereas In A Silent Place found Roberts in the studio recording
a stellar mix of jazzy and reflective yet upbeat New Age guitar instrumentals,
with My Brazilian Heart he also sounds influenced by the tropical
sounds of Brazil combined with smooth jazz. Roberts recorded In
A Silent Place in the studio with former Paul Winter Consort cellist
David Darling and fittingly, Roberts lists a number of players among
his chief influences including Paul Winter guitarist Ralph Towner,
as well huge Brazilian music legends like Charlie Byrd and Baden Powell.
In addition to the comparison with the early Paul Winter Consort sound,
there’s also a neoclassical jazz music sound in the mix with
a sublime Jean Pierre Rampal meets Earl Klugh vibe in play on My
Brazilian Heart, often mixing within the same track! If there’s
one minor aside here it’s that the disc only contains
six tracks but the music is so good you’ll find yourself reaching
for the replay button to hear it again more than once. If enough people
get to hear it, I’m sure Roberts will consider a volume two in
the future. A number of players appear backing up Roberts on these
six guitar masterpieces including Paul Avgerinos (bass), Bill
Harris (woodwinds), Nick Bariluk (keyboards) and Barbara
Merjan (drums/percussion). Easy on the ears, uplifting guitar
based instrumentals, My Brazilian Heart makes a fine spin for
jazz and Brazilian music lovers that can also serve as a cinematic
and reflective musical backdrop for your weary ears.
I
began studying guitar when I was around 13 and started with the traditional
Mel Bay guitar method. I went through all seven books, and my teacher
supplemented them with learning standards, which he arranged chord
and melody style. I also used many of Joe Pass’ books as well
as those by George Van Eps. Both my father and mother knew most of
the standards and big band tunes, so I gravitated towards their melodicism.
Ironically, I did not get into rock music (Hendrix, Grateful Dead,
etc.) as much as many guitar students at the time. I would often play
with my teacher, Chuck Dudley, at the ‘Peg Leg Bates Country
Club’ in Kerhonkson, NY during my high school summers and got
the chance to work behind many famous black entertainers – it
was a gas as well as a great learning experience! I became a classical
guitar major at Ithaca College, in Ithaca, NY and studied with jazz
guitarist Steve Brown and classical guitar teacher Henry Dunn. I later
studied electric bass while attending the University of Miami in Coral
Gables, FL. Of course, upon hearing legendary bassist Jaco Pastorius,
I was hooked, and since I was able to play all styles on the bass,
I became a sought after bassist in the South Florida area, eventually
working for contractor Peter Graves, who led as well as played trombone
with Jaco and his Big Band. While living in South Florida, I was fortunate
to have the opportunity to play bass behind such great musicians as
Chuck Berry, The Fifth Dimension, The Drifters, Maureen McGovern,
Cab Calloway, Chubby Checker, The Lettermen, Peter Noone, The Smothers
Brothers, as well as comedians Bob Hope, Phyllis Diller, Danny Gans
and countless others.
